A blog for passing time, and passing messages about media, about media ecology which is the study of media environments, about language and symbols, about technology, about communication, about consciousness, about culture, about life and the universe, about everything and nothing, about time...

Saturday, April 14, 2018

So, how about another post about one of our New York Society for General Semantics sessions from last year? Interested? Of course, you are!This one is a little different from some of the others, as it involves one extended address, followed by a few shorter responses. And it features my colleague from Manhattan College and co-founder of the Media Ecology Association, as well as fellow trustee of the Institute of General Semantics, not to mention NYSGS board member, Thom Gencarelli.I should also mention that Thom is a fellow past president of the New York State Communication Association, as well as the MEA, and this all starts with him being selected as a fellow Wilson Fellow at NYSCA in 2016, which obligated him to deliver a Wilson Scholar Address at our last meeting, this past October. Which he did, and it was outstanding, which was why I asked him to give it again as part of a NYSGS program.So, anyway, here's the write up for it:

Last year, Thom Gencarelli received NYSCA's John F. Wilson Fellow Award, based on his record of scholarship and service. Other scholars previously named as John F. Wilson Fellows include Neil Postman, Gary Gumpert, Dan Hahn, Deborah Borisoff, Susan Drucker, James W. Carey, Lance Strate, Susan B. Barnes, and Brian Cogan. In conjunction with his selection, he delivered this year's John F. Wilson Fellow Lecture on October 13th, at the 75th anniversary meeting of the New York State Communication Association:"Dark Nets and Disruptive Practices"
All too often, people outside the academic discipline of communication and media studies consider what we do to be little more than a special interest, rather than the study of something that is central to, and one of the primary defining features of, the human experience. As a case in point, the Presidential election of 2016, the most disruptive event of all disruptive events in our contemporary experience in the U.S., can be explained from a media perspective, and an historical one at that. Beginning from Gutenberg’s invention of the mechanical, movable-type printing press and through our contemporary innovations in mobility, social media, and Tor, this presentation argues that all inventions and innovations in media are a disruption, and that the evolution of media by which the citizenry in a democratic society inform themselves can explain, in full, exactly what happened to us in 2016.

On November 3rd, Professor Gencarelli reprised his Wilson Lecture as the main event of our NYSGS program, and following the lecture, as an added bonus, additional reflections, comments, and responses were delivered by

MJ Robinson, Professor of New Media and Journalism and Media Studies, Bernard N. Stern Professor of Humor, and Graduate Deputy Chair for the Media Studies MS program in the Department of Television and Radio at Brooklyn College of the City University of New York;

Michael Plugh, Professor of Communication at Manhattan College, Immediate Past President of the New York State Communication Association, and Internet Officer and Executive Board member of the Media Ecology Association;

and Lance Strate, Professor of Communication and Media Studies at Fordham University, Past President of the New York State Communication Association, Editor of Explorations in Media Ecology and Executive Board member of the Media Ecology Association, a member of the Board of Trustees of the Institute of General Semantics, and President of the New York Society for General Semantics.

Thom Gencarelli, Ph.D. (NYU, 1993) is Professor and the founding Chair of the Communication Department at Manhattan College in Riverdale, New York. He is a Past President of the New York State Communication Association, the Media Ecology Association, and New Jersey Communication Association (twice), and a member of the Board of Trustees of the Institute of General Semantics. He researches and writes about media literacy/media education, media ecology, and popular media and culture with an emphasis on popular music. He is co-editor (with Brian Cogan) of Baby Boomers and Popular Culture: An Inquiry into America’s Most Powerful Generation (ABC-Clio/ Praeger, 2014), and is currently at work on a book about language acquisition and cognitive development. Thom is also a songwriter, musician, and music producer, and has released two album-length works with his ensemble bluerace, World is Ready and Beautiful Sky. The group’s third, as yet untitled effort is due out in 2018.

It was a program that most certainly shed light on our contemporary semantic environment!

Tuesday, April 10, 2018

The Last Jedi is one of the best, if not the best, of the Star Wars cinematic series that first exploded onto theater screens in 1977. The film franchise, originated by George Lucas, was sold to the Walt Disney Company in 2012, and revitalized in 2015 by the first installment in the new trilogy, The Force Awakens, directed by J.J. Abrams.

Although it was a huge commercial success and generally well received, many fans were unhappy with the shift to a more progressive outlook in The Force Awakens, and expressed dissatisfaction with the casting, which deviated from the previous films, which were all but monopolized by white males. In this new trilogy, the lead heroic role of Rey is given to a young woman, while another main character is played by a young African-American man. Even when the sentiments expressed were not overtly racist and sexist, those undercurrents were apparent, especially given that the plot of The Force Awakens was quite consistent with the original Star Wars film.

The Last Jedi, directed by Rian Johnson, extended the new sensibility by highlighting female leadership, including the late Carrie Fisher as the leader of the resistance and Laura Dern as a self-sacrificing admiral of their decimated fleet, while introducing a significant new character played by Kelly Marie Tran, the child of Vietnamese immigrants. Consistent with this move toward greater diversity in casting, the film also emphasized the progressive theme of breaking with the past.

Given the reactionary mentality of most disgruntled Star Wars fanatics, I was disturbed to read Liel Liebovitz’s December 18 piece in Tablet magazine, called “Reform Jediism.” Liebovitz explains his reaction to the film:

I felt a torrent of anger I haven’t known since gazing at the calamity that was Jar-Jar Binks. That’s because the movie, while otherwise engaging and enjoyable, introduced a radical new take on the Jedi religion. Call it Reform Jediism.

Anger is consistent with right-wing screeds against any form of liberal politics, but in this instance the target was Reform Judaism. As he puts it,

for American Jewish audiences… The Last Jedi can feel almost like a documentary, a sordid story about a small community eager to trade in the old and onerous traditions for the glittery and airy creed of universalist kumbaya that, like so much sound and fury, signifies nothing.

As a Reform Jew, I am deeply offended by Liebovitz’s disdain for those of us who practice a form of Judaism different from his own. And I have to wonder what it is about us that makes him so afraid. In the words of the Jedi master Yoda, who presumably represents Liebovitz’s idea of Orthodox Jediism, “Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Don’t we know this to be true? Isn’t our world big enough for different forms of Jewish worship, different modes of Jewish identity? Does he really want to open up an irrevocable schism in the Jewish population?

Responses from readers both sympathetic to his general outlook and supportive of the Reform movement have taken Liebovitz to task for misinterpreting the meaning of The Last Jedi, ignoring important details in the film or just getting them wrong, forcing facts to fit his views instead of vice versa. For my part, I find the entire conversation absurd. Its original sin is Liebovitz’s equating Jew and Jedi.The Star Wars universe was created by George Lucas, who was raised a Methodist. The film’s underlying Christian sensibility is apparent in its emphasis on a savior figure. In the original trilogy, the messianic character is Luke (evoking the Gospels) Skywalker (paralleling walking on water). In the prequels, Anakin Skywalker is born via immaculate conception on the part of the Force and identified as the “chosen one” of prophecy, before falling from grace and becoming the equivalent of the Christian Satan, Darth Vader.

The Jedi are referred to as an “order” rather than a religion. Judaism does not have any orders, but there are many within the Catholic tradition (e.g., Jesuits, Dominicans), as well in as other forms of Christianity including the Methodists, and also within Buddhism, a major influence as well on Lucas and his creation. The Jedi Order is monastic. Worldly attachments—notably marriage—are forbidden; that’s a rule also associated with Christianity and Buddhism.A fully trained Jedi is referred to as a knight, and Jedi knights are all but invincible warriors, in some ways modeled after Japanese samurai, but also after holy paladins, not unlike the Arthurian knights of the roundtable in search of the Holy Grail of Christian legend. Jedi also are much like priests, Christian or Shaolin, with a direct connection to the godlike Force, one that ordinary people lack. They are nothing like the great rabbis of Jewish tradition, learned sages who study and interpret our sacred texts.

The Christian sensibility of Star Wars is especially apparent in its valuation of redemption and forgiveness. At the end of the original trilogy, Luke is able to convince his father, Darth Vader, to turn on his master, the evil emperor. Luke insists that there still is good in Vader, and this final act allows Vader to die in a state of grace, and to appear in ghostly form alongside the good Jedi who have also left the earthly plane. But the fact remains that Vader was guilty of untold atrocities, including destroying an entire planet in the first Star Wars film.

In The Force Awakens, Kylo Ren is introduced as essentially worshipping Darth Vader as well as following the evil Supreme Leader of the First Order, and engages in acts of patricide and mass murder. In The Last Jedi, Rey tries to turn Ren away from the dark side, just as Luke did with Vader, saying that it’s not to late for him. The idea that you can be forgiven for all of your sins as long as you repent in the end has its origins in Christian theology, whereas in our tradition, as expounded by Maimonides, some sins are so heinous that no forgiveness or redemption is possible.I don’t mean to imply that Star Wars is based only on Christian elements. Lucas weaved together a variety of influences, including Buddhism, Japanese samurai films, westerns, World War Two movies, old movie serials such as Flash Gordon, and Joseph Campbell’s notion of the hero’s journey (itself more consistent with Christianity than Judaism). What I want to emphasize is that Star Wars does not reflect Jewish sensibilities, and does not make for a good analogy with contemporary Jewish life.We still can appreciate and enjoy the movies, which above all are entertaining. But we also ought to be aware of Lucas’s failings as a storyteller. His movies have been criticized for portraying democratic institutions as weak and ineffectual, supported only by the elitist Jedi. Only a few people exhibit the force sensitivity needed to become a Jedi, and that trait is inherited rather than acquired through hard work or ethical conduct.

Lucas drew on many stylistic elements from the World War II era, some in disturbing fashion. For example, the final scene of the first Star Wars movie is based on a scene from the Nazi propaganda film Triumph of the Will. Worse, in the prequel trilogy, Lucas drew on offensive ethnic stereotypes, trying to displace them onto alien beings. The character of Jar Jar Binks, whom Liebovitz and many other fans criticized for being too silly, was based on African-American Stepin Fetchit stereotypes, with a Jamaican/Rastafarian speech pattern. The leaders of the evil Trade Federation were based on East Asian “yellow peril” stereotypes. And the greedy slave owner Watto is hook-nosed and speaks with a Yiddish accent.

Liebovitz is wrong in thinking that the earlier Star Wars movies emphasized tradition. No, they were exercises in nostalgia, romanticized images of the past. And they are profoundly ahistorical, set “a long time ago, in a galaxy far, far away.” The fairytale-like formula stands in stark contrast to the Jewish invention of historical narrative. The events that occur in the Star Wars universe have no connection to our world. How long ago did they happen? What is the connection between their time and ours? Are we the descendants of the human characters in these stories? Are they even human? For this reason, as well as the fact that there is no rationale given for the “futuristic” science and technology, purists argue that these stories are fantasy rather than science fiction.

As Jews, we believe in progress toward a better future as well as continuity with the past. The Star Wars universe is as disconnected from our tradition as it is from human history. We can enjoy the films as entertainment, certainly, and I would suggest that also we ought to applaud the more progressive approach associated with Abrams, Johnson, and Disney. As for a Jewish take on the franchise, I can think of none better than the 1987 Mel Brooks movie Spaceballs, which teaches us to live and let live and not take ourselves so seriously.

And so I say to Liebovitz and others like him, “May the Schwartz be with you!”

Thursday, April 5, 2018

So previously here on Blog Time Passing I posted my 2013 Keynote Address to the Media Ecology Association, a version of a talk I had first given at an Institute of General Semantics symposium. If you somehow missed it, here's the link: My MEA Keynote (If Not A Then E).

That address, "If Not A, Then E," includes a creative use of PowerPoint, at least I think so, and in fact that was a key element of the talk. The recording of the keynote captures much of the visual presentation in the background, but not all of it. And the PowerPoint is the main point, visually speaking, you don't really need to look at me at all, you just need to hear me talk.

As a live event, that recording also includes my friend Thom Gencarelli introducing me, and the question and answer session that followed.

My friend Ed Tywoniak liked the address so much that he said he wanted to produce a video version. It took a few years to get around to it, but a little over a year ago, March of 2017, he had me over to his school, Saint Mary's College of California, as a Disney Forum Fellow (that's the Roy E. and Patricia Disney Forum), and one of the goals was to convert the PowerPoint to video, with me doing the voiceover.There were some challenges in making the conversion. You would think it would be easy enough, but there tends to be a loss of visual definition or quality in making the transfer from PowerPoint to video. To avoid that, this version does not include some of the transitions which were part of the overall aesthetic of the presentation. Still and all, Ed's students, Ryan Moran and Sean Wagner, did an outstanding job in putting together the video, setting up the sound recording, and putting it all together. The end result comes in at 28 minutes, as there is no one introducing me as a speaker, and no Q&A session. And here it is:I'll share some other videos that came out of my visit another time. For now, this is me, signing off, from here on E-world.

We all have wished for, at one time or another, the power to read minds and decipher the thoughts of others. And while true ESP may be out of reach, it is possible to interpret clues to what others are thinking, a power that leads to greater success at work, in relationships, and in every aspect of life. The key is to pay attention to aspects of our world that we typically overlook, find the hidden meaning in conversations, negotiations, and personal encounters, and understand the meaning of nonverbal communication.

Marc Salem, aka Professor Moshe Botwinick, holds advanced degrees from the University of Pennsylvania, and New York University, where he earned his PhD studying with Neil Postman, Christine Nystrom, and Terence Moran, and has served as book review editor of ETC: A Review of General Semantics. He has been on the faculty of several major universities, was a director of research at Sesame Street Workshop where he studied the development and nature of mental processes, and is a world-renowned entertainer.

His show, Mind Games, has completed two successful runs on Broadway, as well as the Sydney Opera House, Singapore's Esplanade, London's West End, and the Edinburgh Festival. Salem has been profiled on 60 Minutes, and been featured on Court TV, CNN, The O'Reilly Factor, Montel, and Maury. The New York Police Department, and businesses across the country have turned to Marc Salem for advice.
He is the author of Marc Salem's Mind Games: A Practical Step-By-Step Guide to Developing Your Mental Powers, and The Six Keys to Unlock and Empower Your Mind, Spot Liars and Cheats, Negotiate Any Deal to Your Advantage, Win at the Office, Influence Friends, and Much More, soon to be published in a second edition.

And here's the video recording of his talk, minus a few mysterious, unexplained gaps:

All in all, it was an evening that was nothing less than mind-blowing!